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The 
Civil 
in 

Pictures 

1861-1961 

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Chronological hist 
of Selected Pictorial 
Works 




























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The Civil War 
in Pictures 
1861-1961 

A Chronological List of 
Selected Pictorial Works 


COMPILED BY 

Donald H. Mugridge 



General Reference and Bibliography Division 
Reference Department 
LIBRARY OF CONGRESS 

Washington : 1961 






L.C. card 61-60076 


For sale by the Superintendent of Documents, U.S. Government Printing Office 
Washington 25, D.C. - Price 15 cents 





^9 



The present year marks the centennial not only of 
the outbreak of the Civil War, but of the inauguration 
of Frank Leslie's Pictorial History of the Civil War 
(no. i in the list which follows). This attempt to 
parallel Frank Leslie's Illustrated Newspaper with a work 
issued in serial parts, which would be a complete picture 
chronicle of the war when war and history had run their 
course, was not successful, and so was suspended early 
in the following year, but it helps to justify the statement 
that pictorial works on the Civil War are as old as the 
war itself. This claim would be secure enough, how¬ 
ever even if Leslie had not undertaken this duplicating 
enterprise, for the three New York illustrated weeklies, 
Frank Leslie's Illustrated Newspaper (established at the 
end of 1855), Harper's Weekly (1857), and the New 
York Illustrated News (1859-1864) were true picture 
histories of the war that filled most of their pages for 4 
years, and the wood-engravings into which the on-the- 
spot sketches of their artist-correspondents were con¬ 
verted were the foundation and are still a mainstay of 
Civil War illustration. 

This list of pictorial works, put in the order of the year 
of publication, throws interesting sidelights on the de¬ 
velopment of the processes of graphic reproduction and 
on American publishing enterprise. Many of these 
works were attempts to realize a new profit from mate¬ 
rials on hand or demanding small additional outlay, and 
the “subscription folios” of the close of the 19th century 
sought to reach a less sophisticated market by house-to- 
house canvassing when the regular publishing outlets had 
closed to such outmoded graphic productions. However, 
all but a minority of the volumes in this list of 85 have 
some materials, arrangement, or point of view that gives 
them an individual interest, and many are honorable 
achievements in preserving and disseminating a heritage 
of illustration such as exists for hardly any other war in 
the long story of human conflict. The list also includes 
catalogs and a few scholarly titles that study the origin 
and character of Civil War illustrations without repro¬ 
ducing more than a few of them. 

As indicated, the list is confined to books in the col¬ 
lections and catalog of the Library of Congress. These 
are believed to represent the great majority published, 
since copyright is usually thought essential to ventures of 


1 


the kind, but some later issues without change other than 
in date, covered by the original copyright deposit, are not 
in the Library. A few items have doubtless been missed 
that are in the collections and should have been listed. 
Dimensions are given for most of the oversize or unusually 
proportioned books. The annotations refer primarily to 
the pictures, but frequently go on to other matters. 
Mere catalogs have usually not been annotated, and some 
other items are similarly passed over for various reasons. 

Donald H. Mugridge 
Specialist in American History 
General Reference and Bibliography Division 


2 


1 Squier, Ephraim G., ed. Frank Leslie’s pictorial his¬ 

tory of the American Civil War. New York, F. Leslie 
[ i 86 i ]-62. 2 v. (xvi, 400 p. ; 88 p.) £468.7.876^.1 

Issued in 33 parts (v. i, 26 parts; v. 2, 7 parts) 
No. more published. L.G. lacks v. 2. 

2 Gardner, Alexander. Catalogue of photographic in¬ 

cidents of the war, from the gallery of Alexander Gard¬ 
ner, photographer to the Army of the Potomac . . . 
September, 1863. Washington, H. Polkinhorn, printer, 
1863. 28 p. E468.7.G17 

3 Gardner, Alexander. Gardner’s photographic sketch 

book of the war. Washington, D.G., Philp & Solomons 
[1865] 2 v. 32/2x44 cm. E468.7.G19 

This could be called the finest, if it were not the sole, 
book of photographs issued by a wartime photographer. 
Produced in the only manner then possible (save as a 
portfolio of loose prints, as in no. 4), it mounts actual 
photographic prints on the bound pages, 50 to a volume. 
Gardner did two things which his contemporaries and 
successors have frequently neglected: he identified the 
actual photographer or photographers in every instance 
(crediting himself with the positive prints), and he pro¬ 
vided the facing pages with letterpress amplifying the 
captions. He could, to be sure, have been more precise 
about dates. For a very satisfactory recent reproduc¬ 
tion, see no. 73. The A. R. WARD whose name appears 
on the engraved title-pages is evidently the artist-cor¬ 
respondent Alfred R. Waud, who, presumably, designed 
but did not engrave them. 

4 Barnard, George N. Photographic views of Sher¬ 

man’s campaign, from negatives taken in the field, by 
Geo. N. Barnard, official photographer of the Military 
Div. of the Mississippi. New York, Wynkoop & Hallen- 
beck, 1866. 30 p., 23 cm., and portfolio of 61 pi., 

42^4 x 52^2 cm. E470.B24 

Large and fine prints from Barnard’s negatives, but the 
title is somewhat misleading. Barnard’s wartime nega¬ 
tives and prints became the property of the Engineer 
Corps, and were forwarded to Washington (listed in no. 
27, p. 15-16). In the summer of 1865 Barnard retraced 
his steps and photographed the scenes of the previous 
year’s operations, but the results, however handsome, are 
hardly views of the campaign. 


3 


5 Guernsey, Alfred H., and Henry M. Alden. Har¬ 
per’s pictorial history of the great rebellion. New York, 
Harper [1866-68] 2 v. (836 p.) 41 x 29J/2 cm. 

E468.7.G93 

Standard browsing for all Union seniors and juniors 
for decades after their publication, these folio volumes 
have an unquenchable charm which exceeds even that of 
the bound annual volumes of Harper’s Weekly. Some of 
the 998 wood-engravings are two-page spreads; many are 
full-page (with usually a horizontal instead of a vertical 
axis) or half-page or third-page, but all are as large as 
the composition demands. The one suppression is of the 
names of the artists, frequently given in the Weekly , but 
never here. The text, “commenced during the agony of 
the great struggle,” say the authors, is as sober and factual 
as is consistent with a completely patriotic outlook. 

6 Lossing, Benson J. Pictorial history of the Civil War 

in the United States of America. Illustrated by . . . 
engravings on wood, by Lossing and Barritt, from 
sketches by the author and others. Philadelphia, G. W. 
Childs, 1866-68. 3 v. E468.L88 

Vol. 3 pub. by T. Belknap, Hartford. 

More pictorial in name than nature; v. 1, for instance, 
contains 406 illustrations on its 608 pages, but all are 
small (some minute) wood-engravings, surrounded by 
Lossing’s fluent text. The majority are portrait heads 
and little views made by Lossing on his travels during the 
latter part of and immediately after the war. Some are 
reductions of familiar photos or drawings. The stereo¬ 
typed plates passed from publisher to publisher. A one- 
volume edition is no. 8; the title is changed, the text and 
cuts are identical. 

7 Brady, Mathew B. National photographic collec¬ 

tion of war views, and portraits of representative men. 
New York and Washington, D.C. [Catalogue] New 
York, C. A. Alvord, printer, 1869. 139 p. E468.7.B82 

A part of Brady’s campaign to sell his collection to the 
Government (“It should be placed on permanent exhibi¬ 
tion at the National Capitol . . .”), prefaced by testi¬ 
monials from Grant, Farragut, and the National Acad¬ 
emy of Design. Subdivisions of the catalog are: War 
views (alphabetical by place, but including some topics) ; 
Western campaigns (same) ; Portraits (by categories, 
from Military and naval through Foreign visitors). 

8 Lossing, Benson J. The pictorial field book of the 
Civil War in the United States of America. Illustrated 


4 


by . . . engravings on wood, by Lossing and Barritt, 
from sketches by the author and others. Hartford, T. 
Belknap, 1874. 3 v. in 1. E468.L91 

9 Forbes, Edwin. Life studies of the great army; a his¬ 
torical art work, in copper plate etching, containing 40 
plates illustrating the life of the Union armies during the 
late rebellion. New York, E. Forbes [ c i 876] 1 p., 40 pi. 

NE2195.F6 

Forbes, who served as artist-correspondent for Leslie*s 
in the Virginia Theater from the spring of 1862 to the 
late summer of 1864, devoted his 30 postwar years to 
reworking his wartime materials. This portfolio of etch¬ 
ings won the artist a medal from the Centennial Exposi¬ 
tion in Philadelphia, and General Sherman bought the 
first set of impressions for the Commander-in-Chief’s 
office in Washington. Heavily finished, as etchings they 
are technically clumsy, but they convey the artist’s real 
participation in the daily life of the common soldier. 
For a recent reproduction see no. 65. 

10 Forbes, Edwin. Catalogue. Forbes historical art 
collection of battles, incidents, characters and marches of 
the Union army, [n.p., 1881] cover-title, 20 p. 

NC139.F7 

11 Pictorial war record. Battles of the late Civil War. 

1st ser., v. 1-2, v. 3, nos. 1—19; Sept. 3, 1881-Jan. 5, 1884. 
[New York, Stearns & Co., 1881-84] 2 v. and 19 nos. in 
2 v. 42 cm. weekly. E461.P61 

No more published. This seems to be a serial repub¬ 
lication of the wood-engravings of the New York Illus¬ 
trated News, the last-established and least-known of the 
three illustrated weeklies. The interstices of the 8-page 
issues are filled with miscellaneous anecdotes and inci¬ 
dents of the war. 

12 La Bree, Benjamin, ed. The pictorial battles of the 

Civil War, illustrated by upwards of 1000 engravings 
from sketches by Thos. Nast, Waud, Schell . . . etc. A 
comprehensive history of the Civil War and the events 
leading thereto . . . ed. by Benjamin La Bree. New 
York, Sherman Pub Co. 1885. 2 v. 42cm. 

E468.7.L12 

13 Battles and leaders of the Civil War. Being for the 
most part contributions by Union and Confederate offi¬ 
cers. Based upon c The Century war series.’ Ed. by 

5 


Robert Underwood Johnson and Clarence Clough Buel. 
New York, Century Co. [1887-88] 4 v. E470.B33 

This famous collection of leaders’ recollections is also 
an important pictorial publication. When Scribner's 
Monthly became The Century in 1890, the editors con¬ 
gratulated themselves upon their refinement of the wood- 
engraving process, which they credited to the novel device 
of photographing the drawing directly upon the wood¬ 
block. When the Civil War series began in 1884, the 
old drawings and photos were re-engraved by the new 
process, with a startling enhancement of their quality. 
Despite all the ingenuities of modern bookmaking, few 
illustrated works have ever exceeded Battles and Leaders 
in the fine harmony of text and illustrations. 

14 Travelers Insurance Company, Hartford. Explana¬ 

tion of Matt Morgan’s war pictures. Hartford [188-?] 
23 p. E468.7.T7 

Matthew Somerville Morgan (1839-90) was an Eng¬ 
lish caricaturist whose Civil War cartoons in the London 
Fun made him well-known in America. He was brought 
here by Frank Leslie in 1870. During his last decade he 
took to painting panoramas and other large-scale pic¬ 
tures of the war, which were much admired in their 
day. 

15 Forbes, Edwin. Thirty years after; an artist’s story 

of the great war, told, and illustrated with nearly 300 
relief-etchings after sketches in the field, and 20 half¬ 
tone equestrian portraits from original oil paintings. 
New York, Fords, Howard & Hulbert [ c i89o] 2 v. 

(319 p). E468.7.F69 

Originally issued in 20 parts, 1890-91 (E468.7.F68). 
Forbes’ chief monument for posterity, produced with the 
help of his wife when he was already falling a victim to 
paralysis. The 40 etchings of 1876 (no. 9) have been 
converted into line-cuts, and his old drawings utilized for 
some 250 fresh illustrations. Notwithstanding Forbes’ 
regular inability to give emphasis or achieve lightness, 
the whole group comprises much the finest gallery of 
soldier life in camp and field from a single hand. Of 
the 20 equestrian generals on muddy halftone plates, the 
less said the better. 

16 Taylor & Huntington, Hartford. War memories. 

Catalogue of original photographic war views. Taken 
by the U.S. government photographers, M. B. Brady, 
and Alex. Gardner, during the great war of 1861, 1862, 
1863, 1864 and 1865. Hartford, Taylor & Huntington 
[1890] 23 p. E471.T24 

6 


A catalog of selected items, with colorful annotations 
aimed at increased sales, from the Hartford collection, 
eventually acquired by the Library of Congress. The 
last io pages contain sales material for stereopticons and 
exhibition cases. 

17 U.S. War Dept. Atlas to accompany The Official 
records of the Union and Confederate armies. Pub. 
under the direction of the . . . Secretaries of War. 
Comp, by Capt. Calvin D. Cowles. Washington, Govt. 
Print. Off., 1891-95. 3 v. 47/2x40 cm. E464.U61 

While the Official Records is not often thought of as 
a picture book, its superbly produced (and confusingly 
arranged) Atlas includes a section (plates 121-130) of 
photographs converted into sepia lithographs by Julius 
Bien and Co. of New York, with as many as 12 photos 
to a 2-page plate. Plates 121 and 122 on the defenses of 
Charleston were secured from General Beauregard, and 
some of the 1863-64 items are probably not photos but 
Conrad Chapman’s drawings. The remainder are 
mostly Engineer Corps photos, with George N. Barnard’s 
western views the largest element; a minority are from 
the files of the Quartermaster General’s Office. 

18 The American Civil War book and Grant album, 

“art immortelles”; a portfolio of half-tone reproductions 
from rare and costly photographs designed to perpetuate 
the memory of General Ulysses S. Grant, depicting 
scenes and incidents in connection with the Civil War 
. . . Boston, New York, William H. Allen, c 1894 
[202] p. 27^2 x 34/2 cm. E468.7.A52 

Published in 16 parts, May i-Dec. 15, 1894. 

The Civil War photographs are primarily from Grant’s 
Virginia campaign of 1864-65, but in the later numbers, 
when these had run short, miscellaneous views were 
used. The war photos alternate with a group taken at 
Mount McGregor during Grant’s last illness, and with 
a numerous series thoroughly documenting Grant’s fu¬ 
neral ceremonies in New York City, August 8, 1885. 
Many plates have been considerably retouched. 

19 Battles and leaders of the Civil War. People’s pic¬ 

torial ed. Being for the most part contributions by Union 
and Confederate officers, condensed and arranged for 
popular reading. New York, Century Co. [ c 1894] 
324 p. 27 x 32 cm. E470.B34 

Issued in 20 parts, Mar. 26-Aug. 6, 1894. 

Selected articles “issued with the idea of bringing its 
picturesque features before a larger body of readers”; 

7 


601002—61 -2 


the Century wood-engravings occupy a larger proportion 
of the pages than in the 4-volume edition (no. 13). 

20 Frank Leslie’s scenes and portraits of the Civil 

War ... by such well-known artists as Becker, Crane, 
Beard . . . and others, pts. 1-10. New York, Mrs. F. 
Leslie [ c 1894]. E468.7.L63 

10 pts. in 1 v. 41 cm. (Frank Leslie’s war series, pts. 
1-10). 

“This series . . . will consist of thirty parts, twenty- 
six of which will be devoted to illustrations and four to 
reading matter.” 

No more published? 

21 Guernsey, Alfred H., and Henry M. Alden. Har¬ 

per’s pictorial history of the Civil War. Chicago, Puri¬ 
tan Press Co., c i8g4. 2 v. (836 p.) E468.7.G953 

Also issued in 27 nos., Apr. 16-Oct. 15, 1894, by the 
Star Pub. Co., Chicago (E468.7.G94) 

Now, 28 years later, “CIVIL WAR” replaces 
“GREAT REBELLION” at the feet of the allegorical 
figures on the engraved title-page, and a full-page por¬ 
trait of General Grant comes between the list of illustra¬ 
tions and the facing page 1 of the text. Otherwise the 
Chicago edition seems to be identical with Harper’s own, 
and its electrotyped wood-engravings are as fresh and 
clear as in the original issue (no. 5). 

22 Williams, George F. The memorial war book, as 

drawn from historical records and personal narra¬ 
tives . . . Illustrated by two thousand magnificent en¬ 
gravings reproduced largely from photographs taken by 
the United States Government photographers, M. B. 
Brady and Alexander Gardner. New York, Lovell Bros., 
c i 894. 610 p. 31/2 cm. E468.W71 

Major Williams obtained his photographs from the 
War Photograph and Exhibition Co. of Flartford, Conn, 
(originally the Brady-Anthony collection and now in the 
Library of Congress) and reproduced some that had evi¬ 
dently disappeared by the time of the Photographic His¬ 
tory (no. 37). Most of the reproductions are far too 
small and their half-tone ranges from tolerable to dim. 
The photos are mixed with unidentified drawings, poorly 
done and miserably reproduced. 

23 The American soldier in the Civil War. A pictorial 
history of the campaigns and conflicts of the War between 
the States, profusely illustrated with battle scenes, naval 
engagements and portraits, from sketches by Forbes, 


8 


Taylor . . . and other celebrated war artists. A com¬ 
plete history of the Civil War and descriptive articles by 
Rossiter Johnson, General Fitzhugh Lee [and others] . . . 
New York, Bryan, Taylor [ c i895] 528 P- E468.7.A65 

At head of title: Frank Leslie’s illustrations. 

24 La Bree, Benjamin, ed. The Confederate soldier in 

the Civil War. Campaigns, battles, sieges, charges, 
skirmishes, etc. by General Robert E. Lee . . . and 
others. Louisville, Ky., Carrier-Journal Job Print. Co., 
1895. 4^0 P- E487.L12 

Another ed. was issued by the same job printing com¬ 
pany, now calling itself the Prentice Press, in 1897 
(E487.L122). 

This omnium-gatherum of Confederate materials (for 
the most part commanders’ reports, presumably from the 
Official Records; there is little on the common soldier) 
has at least one picture on nearly every one of its large 
folio pages, but they are half-tones, mostly smallish and 
all dismal, from a variety of sources which are seldom 
identified. On p. 443-50 is a gallery of “Monuments 
Erected to the Confederate Dead.” 

25 Johnson, Rossiter. Campfire and battle-field; a his¬ 

tory of the conflicts and campaigns of the great Civil War 
in the United States, by Rossiter Johnson. Illustrated 
with the original photographs of the . . . Brady collec¬ 
tion. New York, Knight & Brown [1896] 551 p. 34/2 x 
28^2 cm. E468.7.J67 

A large and exceedingly mixed bag of Civil War illus¬ 
trations: wood-engravings, old style; wood-engravings, 
new style; line-cuts; drawings good, bad, and atrocious, 
reproduced in half-tone; photographs in half-tone, some^ 
of which are better than any in the Photographic History 
(no. 37) and some of which are beneath that compila¬ 
tion’s worst. One of the two art editors was Frank 
Beard, a war time artist-correspondent; his line-drawings 
(probably made for this publication) appear at intervals. 

26 Moat, Louis Shepheard, ed. Frank Leslie’s illus¬ 

trated famous leaders and battle scenes of the Civil War 
... by such well-known artists as Becker [and others] 
A concise history of the Civil War, being official data 
secured from the war records. New York, Mrs. F. Leslie 
[1896] 544 p. 44 cm. E468.7.M88 

27 U.S. War Dept. Library. List of the photographs 
and photographic negatives relating to the war for the 
union, now in the War Department library. Washing- 


9 


ton, Govt. Print. Off., 1897. 219 p. (Its Subject cata¬ 
logue no. 5) Z881.U611S 

“Gen. A[dolphus] W. Greely, in supervisory charge; 
David Fitz Gerald, librarian.” 

This little-known document, supervised by the versa¬ 
tile General Greely, is one of the most valuable contri¬ 
butions to Civil War inconography ever made. The 
introduction gives a brief history of the Brady Collection, 
acquired by the War Department in 1874 and consid¬ 
erably eroded by misuse until its transfer to the Depart¬ 
ment Library and Greely’s control in 1894. The Brady 
views (p. 49-75) and much more numerous portraits 
(p. 77-175, 209-19) are the largest element, but also 
listed are the official photos of the Corps of Engineers, 
the Quartermaster’s Department and the Signal Corps, 
and five groups of photos which the War Department 
had acquired from private sources. Sizes a card num¬ 
bers, and negative numbers are given. 

28 Wright, Marcus J., ed. Official and illustrated war 
record, embracing nearly one thousand pictorial sketches 
by the most distinguished American artists of battles by 
land and sea ... in the wars of the United States. 
Written and ed. by Gen. Marcus J. Wright, ably assisted 
by Col. Benjamin La Bree and James P. Boyd . . . 
Washington, 1899. 585 p. 45 x 33 cm. E181.W95 

In 1898 General Wright and his associates, having 
come by the old wartime electrotypes of the New York 
Illustrated News (cf. no. 11), brought out at Washington 
for subscription sale (i.e., house-to-house peddling) a 
large folio Official and Illustrated War Record ... of 
Battles on Land and Se a ... in the Civil War (no copy 
in the Library of Congress). The wood-engravings were 
ill-arranged and seldom dated, and the text consisted of 
a jejune outline of the war eked out with tabular data. 
The present publication adds a frontispiece of U.S.S. 
Maine blowing up, and, on terminal p. 546-84, half¬ 
tone photos and drawings, with a considerable text, on the 
Spanish-American War—and, of course, the title-page 
converts in the Civil War to in the Wars of the United 
States. 

29 Wilson, Rufus Rockwell. Lincoln in carica¬ 

ture . . . illustrated with thirty-two plates. [New York, 
G. A. Powers Ptg. Co.] for private distribution, 1903. 
17 p., 32 pi. in portfolio. E457.63.W75 

R. R. Wilson (1865-1949) of Elmira, N.Y., devoted 
much of a long lifetime to the collection and publication 
of Lincolniana. This first fruits of his cartoon-collecting 


10 


reproduces only 32 of them, but very elegantly, with 
the depressed margins of each plate visible on the large 
pages of fine paper (see nos. 49 and 56). 

30 Paine, Albert Bigelow. Th. Nast, his period and 

his pictures. New York, Macmillan. 1904. xxi, 583, 
xx p. NC1429.N3P3 

Partial contents: Chap. 12, “The Days of Conflict”; 
13, “In the Draft Riots”; 14, “The War’s Last Days”; 
15, “Reconstruction”: p. [77H417] 

Numerous photographs, drawings, and printed car¬ 
toons are reproduced in half-tone or line, often too small 
or otherwise unclear. 

31 Wright, Marcus J., ed. Official portfolio of war and 
nation; a graphic and pictorial history prepared directly 
from the government records in the departments of war 
and statistics . . . accompanied by the complete, superb 
collection of the Leslie’s famous war pictures . . . Nar¬ 
rative and descriptive by John Clark Ridpath, Rossiter 
Johnson, [and others] Carefully ed. by General Marcus 
J. Wright. [Philadelphia, c 1904-05] 584 (i.e. 612) p. 
44 x 32^/2 cm. With extra numbered pages. 

E468.7.W95 

The subscription folio’s last stand. 

32 Eaton, Edward Bailey. Original photographs taken 
on the battlefields during the Civil War of the United 
States, by Mathew B. Brady and Alexander Gardner 
. . . Rare reproductions from photographs selected from 
seven thousand original negatives . . . Now the private 
collection of Edward Bailey Eaton. Valued at $150,000. 
Hartford, Conn. [E. B. Eaton] 1907. 126 p. 27x37 cm. 

E468.7.E14 

E. B. Eaton’s trial balloon, sent up “a few months” 
after he “secured a clear title” to the Brady-Anthony 
Collection from John C. Taylor, whose old catalog is 
reprinted on p. 116-26. Francis Trevelyan Miller be¬ 
gins the text on p. 5 under the heading “Martyrs on 
Altar of Civilization,” meaning the Union war dead 
rather than Brady and his assigns, and presumably was 
responsible for the narrative of the war which accom¬ 
panies the half-tone photos made by Robert Weller of 
Hartford. Some of these are one-to-a-page and larger 
in scale than those in the Photographic History , and 
their average quality is rather above that work’s. The 
majority are smallish, 3 or 4 to a page. Most of the 
larger photos have “Copyright 1907 by E B Eaton” 
obtruding in the lower left corners. 


11 


33 Walsh, William S., ed. Abraham Lincoln and the 

London Punch; cartoons, comments and poems, pub¬ 
lished in The London Charivari, during the American 
Civil War (1861-1865). New York, Moffat, Yard, 1909. 
113P. E457.63.W22 

Quite satisfactory line-cuts of 55 Punch cartoons on 
the American Civil War, fewer than half of which por¬ 
tray Lincoln (and in some of these it is not certain 
whether it is Lincoln or Brother Jonathan, more or less 
Lincolnized). Many or most (he seems not to have 
used his monogram until August 1862) are by the inimi¬ 
table Sir John Tenniel, who became Punch's principal 
cartoonist during these years. He portrayed Lincoln as 
a “bearded ruffian, a repulsive compound of malice, vul¬ 
garity and cunning.” The text on the left-hand pages 
consists largely of excerpts from Punch's text. 

34 Miller, Francis Trevelyan, and Edward Bailey Eaton. 

Portrait life of Lincoln; life of Abraham Lincoln, the 
greatest American, told from original photographs . . . 
collected by Edward Bailey Eaton. Springfield, Mass., 
The Patriot Pub. Co., 1910. 164 p. E457.6.M64 

Photographs assembled by Eaton from his own and 
other collections, including O. H. Oldroyd’s, F. H. Me- 
serve’s, and L. C. Handy’s, reproduced in half-tone 
printed in a dark-brown ink. The text is emotional- 
inspirational. 

35 Lanier, Henry Wysham. Photographing the Civil 

War. New York, Review of Reviews Co., 1911. 4 v. 

28 cm. E468.7.L28 

It would be interesting to have a transcript of the 
staff conferences held while the subsidiary enterprises 
of the Photographic History (no. 37) were being planned. 
This one consists of plates and their captions only, with 
the left-hand pages blank. H. W. Lanier was evidently 
promoted into authorship because his essay, “Photo¬ 
graphing the Civil War,” occupies the first 13 (and 
only numbered) pages. The order of the plates passes 
understanding, as a few successive ones will show: De¬ 
fenses of Atlanta, 1864; a Union battery, March 1863; 
Defenses of Washington; Lincoln and Union officers at 
Antietam, 1862; Confederate artillerists near Charles¬ 
ton, 1863; McLean House at Appomattox; repairing the 
railroad after a raid on Pope’s communications, 1862. 

36 Meserve, Frederick Hill. The photographs of Abra¬ 
ham Lincoln. New York, priv. print., 1911. nop. 

E457.6.M58 


12 


Supplement. New York, priv. print., 1917-55. 

E457.6.M58 Suppl. 

Both Rare Bk. Coll. 

This famous volume, on fine rag paper, had 92 sub¬ 
scribers, including J. Pierpont Morgan, H. C. Frick, John 
Wanamaker, Robert T. Lincoln, and Gutzon Borglum, 
for its 102 copies. One hundred reduced photographic 
prints of Lincoln from original or copy negatives are 
pasted in, 4 to the page, and there are additional un¬ 
numbered prints of group scenes and of Lincoln’s family, 
Cabinet, and generals. The left-hand pages indicate the 
origin of each photo, and there is an introductory “mono¬ 
graph” entitled “The Photographs of Abraham Lincoln” 
(p. 21-34). The four supplements, each a pamphlet 
printed in the same style, in 1915, 1938, 1950, and 1955, 
bring the total to 130. For critical work on the Meserve 
canon, see no. 55. 


37 Miller, Francis Trevelyan, ed. The photographic 
history of the Civil War. F. T. Miller, editor-in-chief; 
Robert S. Lanier, managing editor. With text by many 
special authorities. New York, Review of Reviews Co., 
1911. 10 v. 28J/2 cm. E468.7.M64 

Subsequent issues, otherwise identical, are dated 1911- 
12 and 1912. 

Contents.—v. 1. The opening battles.—v. 2. Two years 
of grim war.—v. 3. The decisive battles.—v. 4. The 
cavalry.—v. 5. Forts and artillery.—v. 6. The navies.— 
v. 7. Prisons and hospitals.—v. 8. Soldier life, secret 
service.—v. 9. Poetry and eloquence of Blue and Gray.— 
v. 10. Armies and leaders. 

This grandiose work was initiated by E. B. Eaton’s 
acquisition of the Brady-Anthony Collection (see no. 32), 
now in the Library of Congress, and was primarily based 
upon that collection. It also incorporates the results of 
a large labor of assembling photographic negatives and 
prints from all over the country; many of its materials 
are known from no other source. Some 3,700 photos 
are reproduced, unfortunately in a drab and sometimes 
vague half-tone. The text on the left-hand pages was 
supplied by writers of various kinds, with small reference 
to photographs, but the extensive captions seem to have 
been produced editorially. They are always undocu¬ 
mented, and make exaggerated claims for particular pic¬ 
tures, sometimes demonstrably false. In spite of the 
topical volume-titles, the photos are far from being satis¬ 
factorily arranged, and the index in v. 10 fails to supply 
the defect. Related publications are nos. 32, 34, 35, 38 
and 44. 


13 



38 The Civil War through the camera, hundreds of 

vivid photographs actually taken in Civil War times, to¬ 
gether with Elson’s new history, by Henry W. Elson. 
[New York Trow Directory Ptg. and Bookbinding Co.] 
c i9i2. 16 pt. in i v. 27J/2 cm. E468.7.C58 

Another of the enterprises incidental to the Photo¬ 
graphic History (no. 37). Its plates and captions are 
printed on the right-hand pages, while the left-hand 
ones are occupied by the general campaign narratives 
which H. W. Elson, professor of history at Ohio Univer¬ 
sity and a very successful writer of historical textbooks, 
contributed to v. 1-3. The parts are unpaginated and 
of varying sizes, and each has for frontispiece a color 
plate (copyright 1901) reproducing a painting. 

39 Leslie’s weekly. At the front with the army and 
navy; a pictorial history of the Civil and subsequent wars 
as seen by the correspondents of Leslie's weekly. New 
York, Leslie-Judge Co. [ c 1912] [141] p. 41^4 cm. 

E468.7.L64 

Twenty-six pages of semicentennial articles, 1911-12, 
reproducing Civil War wood-engravings from Leslie's in 
half-tone reductions, as many as 8 to a page; then 63 
pages of the old electrotypes, mostly full-page; then 33 
pages of half-tone photos and drawings of the Spanish- 
American War; a few from the Philippine Insurrection; 
and finally scenes from the Boer and Russo-Japanese 
Wars. 

40 Meserve, Frederick Hill. Lincolniana; historical 

portraits and views printed directly from original nega¬ 
tives and from negatives made from photographs in the 
collection of F. H. Meserve. New York, priv. print., 
1915. 104 p. E457.6.M567 Rare Bk. Coll. 

An elegant tome, on rag paper bound in black leather, 
with 108 reduced Lincoln photos and, on p. 32-104, a 
much larger gallery of contemporaries, paintings, prints, 
and scenes, especially of the funeral processions, first 
interment, and the trial and execution of the conspirators, 
all in miniature photographs. The letterpress is con¬ 
fined to titles and captions. 

41 The Pageant of America, a pictorial history of the 

United States. Ralph Henry Gabriel, editor. [15 v., 
1925-29] v. 7. In Defense of liberty, by William Wood 
[and] R. H. Gabriel. New Haven, Yale University Press, 
1928. 370 p. Ei78.5.Pi 95j v. 7 

E178.5.P2, v. 7 

The first 181 pages cover the Civil War in 401 pictures, 
and the remainder of the volume deals with the Spanish- 

14 


American War, the Boxer Rebellion, and World War I. 
Like most of the other volumes of The Pageant of Amer¬ 
ica, this is heartbreaking, for seldom have such intelli¬ 
gent planning and editing been yoked to so complete a 
graphic failure. Wood-engravings, photographs, and 
paintings are reduced to miniatures, and even when more 
space is allotted, the half-tone is lifeless. 

42 Murrell, William. A history of American graphic 

humor. New York, Whitney Museum of American Art, 
I 933 _ 3 ^- 2 v. 28/2 cm. ‘ NC1420.M8 

Vol. 2 has imprint: New York, Published for the Whit¬ 
ney Museum of American Art by the Macmillan 
company, 1938. 

The concluding illustrations of v. i } nos. 182-237, are 
largely concerned with the Civil War or its preliminaries. 
Reproduced in gravure on a yellowish ground, they fre¬ 
quently obtain clear definition, but are seldom large 
enough for the legends to be read. The text, closely tied 
to the illustrations, notes the wartime cartoons of M. A. 
Woolf as among the first to employ a technique recog¬ 
nizably modern, abandoning diffuseness for a single and 
sharp point. 

43 Taft, Robert. Photography and the American 

scene; a social history, 1839-1889. New York, Macmil¬ 
lan, 1938. 546 p. TR23.T3 

Reprinted 1942. 

Chapter 13, “Civil War Photographers” (p. 223-47) 
has 17 half-tones of photographs, usually clear if smallish, 
and a text, documented by notes (p. 484-88), which is 
the most informative and reliable summary of the subject. 

44 Egan, Joseph B. and Arthur W. Desmond, eds. 

The Civil War, its photographic history . . . compiled 
from actual photographs taken at the time of action by 
Mathew B. Brady and others. Processing of plates and 
studio work, John D. Payne. Wellesley Hills^ Mass., 
Character Building Publications [ c 1941] 2 v. 2 7*4 cm. 
[Visual history series] E468.7.E35 

Contents.—v. 1. The war in the East.—v. 2. The war 
in the West and South and on the water. 

Reproduces selected plates of the Photographic History 
(no. 37), and accompanies the blurred results with sim¬ 
plified captions and minimal text. 

45 Lorant, Stefan. Lincoln, his life in photographs. 

New York, Duell, Sloan and Pearce [ c 1941] 160 p. 

30*4 cm. E457.6.L8 

His Life in Photographs and some wood-engravings 


15 


and manuscripts; Mr. Lorant’s first Lincoln venture, the 
imperfections of which he readily conceded in his later 
treatments (nos. 55 and 68). It nevertheless has some 
fine materials, a few of which (such as the remarkable 
Brady family group on p. [139]) do not a PP ear i n the 
later books, and some very telling arrangements which 
were not retained. 

46 Adams, James Truslow, ed. Album of American 
history. J. T. Adams, editor in chief; R. V. Coleman, 
managing editor; Atkinson Dymock, art director, v. 3, 
1853-1893. New York, Scribner, 1946. 435 p. 

E178.A24, v. 3 

The Civil War is limited to pages 98-191. The illus¬ 
trations are drawn primarily from the weeklies’ wood- 
engravings, with some supplement from book illustra¬ 
tions, prints, and paintings. There are few photos and 
no original drawings. The reproductions, usually three 
to a page, are both small and dark. The text is limited 
to brief captions. The Album as a whole is notable for 
its photos and drawings of artifacts, but there is no 
military technology in this section. 

47 Meserve, Frederick Hill, and Carl Sandburg. The 
photographs of Abraham Lincoln. New York, Har- 
court, Brace, [1944] 30 p. 95 pi. on 48 1 . 

E457.6.M569 

Contents.—The face of Lincoln, by Carl Sandburg.— 
Frederick Hill Meserve, by Carl Sandburg.—The photo¬ 
graphs of Abraham Lincoln, by F. H. Meserve. 

A public edition from Mr. Meserve’s private ones (nos. 
36 and 40), with most of the photos turned into half¬ 
tones of the same size, although 18 have been stepped up 
to page-size. In his first essay Mr. Sandburg assembles a 
number of verbal impressions of Lincoln’s appearance, 
and in the second he gives a sketch of Mr. Meserve as a 
textile executive and a collector of 200,000 photographs. 
Mr. Meserve’s essay is quite distinct from that in no. 36. 

48 Nevins, Allan, and Frank Weitenkampf. A century 

of political cartoons; caricature in the United States 
from 1800 to 1900. With 100 reproductions of cartoons. 
New York, Scribner, 1944. 190 p. E178.4.N47 

Twenty-seven cartoons spanning the years 1848-68 
are concerned with the slavery controversy, secession, the 
war, and Reconstruction. All but four were separate 
prints, mostly lithographs. They are reproduced in a 
light half-tone which is adequate save when the reduc¬ 
tion is too great or the ballooned words are otherwise 
lost. The commentary on the left-hand pages is pri- 

16 


marily concerned with providing the political back¬ 
ground, but often goes on to interpret particular features 
of the cartoon. 

49 Wilson, Rufus Rockwell. Lincoln in caricature; 

165 poster cartoons and drawings for the press, assembled 
and described by R. R. Wilson. Elmira, N.Y., Prima- 
vera Press, 1945. xv, 331 p. E457.63.W752 

R. R. Wilson’s collection of Lincoln cartoons (no. 29) 
had now grown from 32 to 165. The reproductions of 
the line-cuts are good enough, but the lithographs are 
less satisfactory. Each cartoon is discussed as to subject 
and interpretation at page-length, but little attempt was 
made to identify the caricaturists. 

50 Meredith, Roy. Mr. Lincoln’s camera man, 

Mathew B. Brady. New York, Scribner, 1946. 368 p. 

31 cm. TR140.B7M4 

Bibliography: p. 365-368. 

There are 149 half-tone reproductions in the text, 
mostly of photographs, many of them from the until 
then little exploited L. C. Handy collection. A good set 
of photos, prints, and a painting of Brady himself. The 
text: the Hero as Photographer. The final section (p. 
263-362) reproduces the 135 photographs of “Brady’s 
Lecture Book” in their rambling order and with the lec¬ 
turer’s often rather flat comments. 

51 Meredith, Roy. The face of Robert E. Lee in life 

and in legend. New York, Scribner, 1947. 143 p. 

29 cm. E467.1.L4M5 

The two terms of the subtitle correspond to the book’s 
subdivision into two unequal parts. The first and largest 
is a critical iconography of all known photographs, paint¬ 
ings from life, etc., while In Legend presents imaginative 
representations in prints, paintings, sculpture, etc., pro¬ 
duced since Lee’s death only 5 years after Appomattox. 
Unfortunately, much the greater part of the images from 
life were made after Appomattox, and show only too 
clearly the rapid progress of the arteriosclerosis which 
the enormous strains of 1862-65 had brought about. A 
fine study, in which the author acknowledges the assist¬ 
ance of the late Douglas Southall Freeman. 

52 U.S. Library of Congress. An album of American 

battle art, 1755-1918. [Edited by Donald H. Mugridge] 
Washington, U.S. Govt. Print. Off., 1947. xvi, 319 p. 
150 plates. N8260.U4 

In the 7th of its 10 sections, this Album aims to give a 
representative sampling of Civil War illustration in 55 


17 


plates (nos. 172-76). They include 22 original draw¬ 
ings by the Wauds and Forbes, 21 lithographic prints 
(thereby giving some attention to the most neglected 
phase of Civil War graphics), 5 photographs, 4 wood- 
engravings (regarded as invariably inferior to the orig¬ 
inal drawings), and 3 etchings. An equally broad dis¬ 
tribution of subject matter is likewise sought. The text, 
which precedes the plates (p. 165-209), consists of a 
general introduction on the Civil War and its illustrators, 
and a commentary on each plate, as both a representa¬ 
tion of history and a product of graphic artists and 
craftsmen. 

53 Buchanan, Lamont. A pictorial history of the Con¬ 
federacy. New York, Crown Publishers [1951] 288 p. 

29 cm. E487.B8 

This volume has some good broadsides, songsheets, 
and such-like rather neglected materials, and a few of 
its line-pieces are large and clear. But there are no 
captions and no chapter divisions; the indication of 
picture sources is confined to a mere list of names at the 
beginning of the book; and both the selections and their 
reproduction could have been bettered. 

54 Meredith, Roy. Mr. Lincoln’s contemporaries; an 

album of portraits by Mathew B. Brady. New York, 
Scribner, 1951. 233 p. 29 cm. E415.8.M4 

Some 170 large and well-reproduced portrait photo¬ 
graphs made by the two Brady galleries, many of them 
fresh material from the L. C. Handy collection (to which 
no acknowledgement is made). The text is a general 
outline of the 1850’s and 6o’s, so devised as to intro¬ 
duce the names of most of the persons pictured. 

55 Lorant, Stefan. Lincoln, a picture story of his life. 
New York, Harper [1952] 256 p. 33 cm. E457.6.L78 

The first edition of Mr. Lorant’s greatly expanded and 
improved graphic biography, with the text closely tied 
to the pictures throughout. One of the most valuable 
features is the appendix, “A Pictorial Bibliography” (p. 
2 3 0_ 5°) 5 which by critical comparison and the technique 
of superimposition reduces the 124 Meserve photographs 
to 99, and places them in an approximately correct 
chronological order. 

56 Wilson, Rufus Rockwell. Lincoln in caricature; a 
historical collection, with descriptive and biographical 
commentaries. Introd. by R. Gerald McMurtry. New 
York, Horizon Press, 1953. xix, 327 p. 163 illus. 

E457.63.w7521953 


18 


Photographically reproduced from the 1945 edition 
(no. 49), with inevitable deterioration, especially in the 
lithographs. Plates 164 and 165 have been dropped to 
make room for Prof. McMurtry’s introduction. 

57 Meredith, Roy. The American wars; a pictorial 

history from Quebec to Korea, 1755-1953. Cleveland, 
World Pub. Co. [1955] 349 p. 29 cm. E181.M5 

Having dealt with the Civil War at length in his other 
books, Mr. Meredith here disposes of it in only 55 pages, 
and omits photographs. He reproduces a group of ten 
pen-and-ink drawings by Corp. Nep Roesler of the 47th 
Ohio, illustrating General Rosecrans’ West Virginia 
campaign of September 1861, a good sampling of Wins¬ 
low Homer’s drawings and paintings, other paintings in 
public and private collections, and a considerable amount 
of The Century’s graphic work. Since his preference is 
for panoramic views, much detail is lost in the two-to-a- 
page scale. 

58 Horan, James D. Mathew Brady, historian with a 
camera. Picture collation by Gertrude Horan. New 
York, Crown Publishers [1955] xix, 244 p. 32 cm. 

TR140.B7H6 

42 illustrations in the text, largely reproductions of 
contemporary notices in print and of Brady business 
documents; 453 photographs (and a few other forms) 
reproduced in “A Picture Album,” (p. [93H228]), often 
4, 5, and even 6 photos to a page. New pictures and 
fresh material have not resulted in a critical or authori¬ 
tative work. 

59 Miller, William Lawrence. The rebellion, the tale 

of the Confederacy; prologues [and] legends. Twelve 
full color reproductions from original oils by John Fulton. 
New York, c i955- 13 col. plates and phonodisc. (2 s. 

12 in. 33^3 rpm. microgroove) 40 cm. 

ND237.F85M5 

In portfolio. 

The author of the verse describes himself as “Larry 
Miller, the Rebel Bard,” and each of Mr. Fulton’s 
straightforward paintings illustrates one of the 13 sections 
of The Tale , from “the [Confederate] Band” to “Recon¬ 
struction.” Notwithstanding the statement on the cover 
of the portfolio, there are 13 rather than 12 such plates. 

60 Pratt, Fletcher, ed. Civil War in pictures. New 

York, Holt [1955] 256 p. 29 cm. E468.7.P7 

The pictures are wood-engravings primarily from 
Harper's Weekly but also from Frank Leslie's, and the 

19 


text is in large part drawn from the same journals in 
about the same proportion. The engravings are re¬ 
duced, and ads and some other “quaint” items are thrown 
in for variety. Artists are never and writers seldom 
identified. There are no divisions of any kind, but the 
late Fletcher Pratt knew how to keep the narrative 
moving. 

61 Battles and leaders of the Civil War. Being for the 

most part contributions by Union and Confederate 
officers. New introd. by Roy F. Nichols. New York, T. 
Yoseloff [1956] 4 v. E470.B346 

This very useful reprint of no. 13 by photographic 
process is somewhat reduced; while the text remains 
legible enough, the illustrations doubly suffer. A one- 
volume condensation edited by Ned Bradford (New 
York, Appleton-Century-Crofts, 1957. 626 p. E470. 

B344) omits much of value, but such illustrations as are 
reproduced are practically as in the original publication. 

62 The Civil War. New York, Grosset & Dunlap 

[ 1 956] 2 v. E468.C6 

Issued in a case. 

Vol. 1 published in 1947 under title: The American 
Iliad; the epic story of the Civil War as narrated by 
eyewitnesses and contemporaries, by Otto Eisenschiml 
and Ralph Newman. 

Contents.—v. 1. The American Iliad, as told by those 
who lived it, by O. Eisenschiml and R. Newman.—v. 2. 
The picture chronicle of the events, leaders, and battle¬ 
fields of the war, by R. Newman and E. B. Long. 

In v. 2, the “picture chronicle” consists of alternating 
two-page reaches of chronology, month by month, and of 
photographs. The format is small but the problem of 
reproduction has been solved by turning choice photos 
into marginless two-page spreads in an excellent small- 
screen process. “Men Who Made War” (p. 155-218) is 
a gallery of selected figures on each side, including a 
minority of civilians, with a brief biography accompany¬ 
ing each photo. In i960 the same publishers issued an 
enlarged edition (274 as against 240 p.) of v. 2 under 
the title The Civil War Digest (E468.N44). 

63 Divided we fought; a pictorial history of the war, 

1861-1865. Picture editors: Hirst D. Milhollen, Milton 
Kaplan, and Hulen Stuart. Author of the text and gen¬ 
eral editor: David Donald. New York, Macmillan 
[ Cl 95 6 ] 454 P- 29 cm. E468.D5 1956 

Of the 441 illustrations, over three-fourths are photo¬ 
graphs and the remainder drawings by the artist-corre- 


20 


spondents. The photos, largely from the Brady Collec¬ 
tion in the Library of Congress, are as good as half-tones 
can be. The drawings are largely Alfred R. Waud’s 
from L. C.’s J. P. Morgan Collection, with some by his 
brother William and by Edwin Forbes. Here the repro¬ 
ductions are sometimes too small and incline to lose the 
distinctness of the originals. Prof. Donald’s text is skill¬ 
fully tied to the pictures, and is in large part woven out 
of contemporary narratives, and thoroughly documented 
in “Reference Notes” (p. 447-452). The only differ¬ 
ence between the original edition of 1952 and this suc¬ 
cessor is that the “Publisher’s Foreword” has been cut 
down to make room for a two-page “Index to the Por¬ 
traits” at the end. 

64 Roscoe, Theodore, and Fred Freeman. Picture his¬ 

tory of the U.S. Navy, from old Navy to new, 1776-1897. 
New York, Scribner, 1956. 1 v. (unpaged) 32 cm. 

E182.R84 

The illustrations are numbered if the pages are not; 
nos. 615-908 cover the Civil War. With nearly 300 pic¬ 
tures on 100 pages, and some 2-page spreads indulged in, 
the pictures tend to be small, but in most cases the 
skillful use of a fine-screen process keeps them sharp. 
The majority are from photos or lithographic prints. 
The text consists of extended captions which are quite 
informative as to ships, events, etc., but do not consider 
the pictures as such. “Picture Credits” only are supplied. 
A large body of specialized material is successfully pre¬ 
sented, notwithstanding the compilers’ non-academic 
methods. 

65 Forbes, Edwin. A Civil War artist at the front; 
Edwin Forbes’ Life studies of the great army. Edited by 
William Forrest Dawson. New York, Oxford Univer¬ 
sity Press, 1957. [94] p. 21 x 27 cm. 

NE2195.F6D33 1957 

The reproductions of Forbes’ 40 etchings of 1876 (no. 
9) are considerably reduced but without loss of dis¬ 
tinctness or detail. Mr. Dawson’s text on the facing 
pages naturally draws on Forbes’ second book (no. 15) 
but supplements it from other wartime records. 

66 Hoole, William Stanley. Vizetelly covers the Con¬ 
federacy. Tuscaloosa, Ala., Confederate Pub. Co., 1 957 * 
173 P- (Confederate centennial studies, no. 4) 

E609.H6 

“Limited edition, only four hundred and fifty sale 
copies . . . printed.” Bibliography: p. [163]—169. 

Frank Vizetelly, artist-correspondent of the Illustrated 

21 


London News , was a fluent and effective writer as well 
as a skilled craftsman. In the course of 1862 he trans¬ 
ferred from the Union to the Confederate armies, and 
thereafter turned out the only considerable body of eye¬ 
witness drawings from the Confederate side. They were 
sent home, together with his written pieces, by blockade- 
runner, and some, of course, were intercepted by Fed¬ 
eral cruisers. These materials naturally make an inter¬ 
esting volume, but the reproductions are exclusively of 
the Illustrated London News wood-engravings, and not 
of the group of original and very able drawings now in 
the Harvard College Library. 

67 Kimmel, Stanley P. Mr. Lincoln’s Washington. 

New York, Coward-McCann [1957] 224 p. 29 cm. 

E501.K5 

A very representative collection of photographs and 
wood-engravings illustrating wartime Washington, sup¬ 
plemented by a smaller number of prints, drawings, and 
parts of newspaper pages. When not too small, the re¬ 
productions are satisfactory. A picture credit accom¬ 
panies each item, but there is no further identification, 
list, or index. The text, put together largely from con¬ 
temporary newspaper files, shows obvious signs of haste, 
and the errors sometimes extend to the captions. 

68 Lorant, Stefan. Lincoln, a picture story of his life. 

Rev. and enl. ed. New York, Harper [1957] 304 p. 

33 cm - E457.6.L78 1957 

The enlarged edition of no. 55 has 48 additional pages 
and adds over 100 new illustrations. It is an impressive 
accumulation of highly relevant graphic material on 
Lincoln’s life and the principal episodes of the Civil War, 
well tied to a text put together from good authorities. 
The strictly graphic material is well filled out with legible 
reproductions of one or two-page mss. of letters and 
papers. Regrettable deficiencies are: 1) no overall list¬ 
ing of the illustrations or indication of sources; 2) no 
index; 3) the author fails to distinguish the imaginative 
reconstructions he draws upon to illustrate Lincoln’s first 
25 years. 

69 Miller, Francis Trevelyan, ed. The photographic 

history of the Civil War. F. T. Miller, editor in chief; 
Robert S. Lanier, managing editor. With a new introd. 
by Henry Steele Commager. New York. T. Yoseloff 
t 1 957 ] 10 v. in 5. 28 cm. E468.7.M64 1957 

Issued in a case. 

The reduction in size is slight and affects only the 
generous margins of the 1911 original (no. 37), and the 


22 


two-volumes-in-one form increases convenience, but the 
reproduction by photographic process has of course less¬ 
ened the light and clarity of the plates. 

70 Blay, John S. The Civil War; a pictorial profile. 

New York, Crowell [1958] 342 p. 29 cm. 

E468.7.B5 

Handsomely reproduces 365 wood engravings from 
Harper’s, Frank Leslie’s , the Illustrated London News , 
and a few later sources, with captions and a straight¬ 
forwardly factual text well tied to them, since Mr. Blay 
handled both sides of the book. 14 specially and clearly 
drawn maps are inserted at the proper places. Artists 
and the sources of individual pictures are not indicated. 

71 Kimmel, Stanley P. Mr. Davis’s Richmond. New 

York, Coward-McCann [1958] 214 p. 29 cm. 

F234.R5K5 

Adequate reproductions of some fine photographs of 
wartime Richmond from the collections of the Virginia 
Historical Society, the Confederate and Valentine 
Museums, and the National Archives, eked out by wood- 
engravings from the American weeklies and the Illus- 
trated London News. The text is a breathless run- 
through of the Richmond press, with many excerpts 
illustrating local rowdyism and violence. 

72 Cobb, Josephine. Mathew B. Brady’s photographic 
gallery in Washington. In Columbia Historical Society. 
Records, v. 53-56. Washington, 1959. p. 28-69. 

F191.C72, v. 53-56 
This thoroughly documented article approaches its 
subject critically, and contains the fullest and most re¬ 
liable information available on any aspect of Brady’s 
activities. He did not permanently set up shop in Wash¬ 
ington until 1858, but the Civil War soon made the new 
gallery more active than the Broadway one. 

73 Gardner, Alexander. Photographic sketch book of 
the Civil War. New York, Dover Publications [1959] 
[8] p., reprint (2 v. 100 plates), [4] p. 23 x 28 cm. 

E468.7.G19 1959 

This reproduction of No. 3 is both inexpensive and one 
of the most successful of recent undertakings of the kind: 
it is quite complete, both as to pictures and text, and 
while a certain quality is lost in the transition from 
original photographs to half-tones, they are the size of 
the originals and so carefully done as to be full of light 
and entirely clear. The terminal pages are a useful 
index which of course is not in the original publication. 

23 


74 Grant, Ulysses S. Mr. Lincoln’s general; U. S. 

Grant, an illustrated autobiography. Edited and arr. by 
Roy Meredith. New York, Dutton, 1959. 252 p. 29 

cm. E672.G7618 

Selected passages from Grant’s Personal Memoirs 9 in¬ 
terspersed with mostly contemporary illustrations of 
various kinds briefly captioned but otherwise unidenti¬ 
fied. The Civil War is reached only on page 161, and 
one page takes Grant from the surrender of Fort Donel- 
son to the opening of the Vicksburg campaign. 

75 La Bree, Benjamin, ed. The Confederate soldier 

in the Civil War: The campaigns, battles, sieges, charges, 
and skirmishes, described by Robert E. Lee [and others] 
Pref. by John S. Blay. Paterson, N.J., Pageant Books 
[1959] 480 p. 42 cm. E487.L122 1959 

A reprint by photographic process of no. 24. 

76 Stern, Philip Van Doren. They were there; the 

Civil War in action as seen by its combat artists. With 
6 poems by Walt Whitman. New York, Grown Pub¬ 
lishers [1959] 166 p. 31 cm. E468.7.S78 

A well-made selection of over 200 of the artist-cor¬ 
respondents’ sketches, drawn primarily from the Waud 
and Forbes pieces in the Library of Congress, but sup¬ 
plementing them with scattered items by other hands 
from other repositories. Mr. Stern wisely makes no 
attempt to renarrate the course of events, but pre¬ 
sents the drawings by significant topics and in ingenious 
combinations or contrasts, with the emphasis upon the 
experience of the common soldier. The reproduction 
would be excellent if the plates had not been made too 
light, losing some detail and requiring some emergency 
retouching. A color section of 18 pieces includes some 
of Forbes’ post-war paintings and of C. W. Chapman’s 
masterly water-colors of Charleston Harbor. 

77 Wiley, Bell Irvin. They who fought here. Text by 
Bell Irvin Wiley; illus. selected by Hirst D. Milhollen. 
New York, Macmillan, 1959. 273 p. 29 cm. E607.W52 

269 excellent illustrations, and an excellent text which 
in 10 topical chapters synthesizes Prof. Wiley’s more de¬ 
tailed books, The Life of Johny Reb (1943) and The 
Life of Billy Yank (1952), but pictures and text never 
so much as nod to each other. The great majority of 
the former are photos in half-tone, with a tendency to 
be too dark; many have been copied from private col¬ 
lections. Material remains have been drawn from orig¬ 
inals in battlefield museums of the National Park Service 
and other collections public and private. Most of the 

24 


wartime drawings are from the J. P. Morgan Collection 
in the Library of Congress. 

78 American heritage. The American heritage picture 

history of the Civil War, by the editors of American heri¬ 
tage. Editor in charge: Richard M. Ketchum. Narra¬ 
tive by Bruce Catton. New York, American Heritage 
Pub. Co.; book trade distribution by Doubleday [i960] 
630 p. 29 cm. E468.7.A6 

The most lavish single volume of Civil War illustra¬ 
tions ever brought together, with many of them in color 
of a high average quality. The virtuosity of process is 
such that a color print and a half-tone can be presented 
on the same page. A remarkable proportion of the ma¬ 
terial is quite fresh if not previously unpublished. Mr. 
Catton’s smooth narrative confines itself to the course 
of events, but the pictures have ample captions and “cred¬ 
its” to an institution or collection. No overall listing is 
provided, but there is a substantial index. Some of the 
eyewitness drawings in particular are too much reduced, 
and the specially prepared picture-maps are neither good 
pictures nor good maps, but the volume as a whole justi¬ 
fies the expense and labor lavished upon its production. 

79 Franklin D. Roosevelt Library, Hyde Park , N.Y. 

A preliminary list of Civil War paintings, drawings and 
prints in the naval collection of Franklin D. Roosevelt. 
Compiled by Raymond H. Corry. Hyde Park, N.Y., 
i960. 17 p. 27 cm. E468.7.F7 

80 Johnson, James Ralph. Horsemen, blue and gray; 

a pictorial history. Pictures by Hirst Dillon Milhollen. 
Text by James Ralph Johnson and Alfred Hoyt Bill. 
New York, Oxford University Press, i960. 236 p. 29 

cm. E492.5.J6 

An impressive assembling of 215 pictures, photographs 
and eyewitness drawings supplemented by a few printed 
pieces, illustrating cavalrymen, cavalry actions, and 
scenes associated with cavalry movements. The fine- 
screen reproductions are regularly excellent save for a 
few pieces given less space than their detail required. 
The text briskly narrates the independent cavalry opera¬ 
tions of the war, especially the big raids, but pays small 
attention to combined operations, the life of the cavalry¬ 
man and his mount, or the pictures. 

81 Thompson, William Fletcher. The image of war; 

the pictorial reporting of the American Civil War. New 
York, T. Yoseloff [i960] 248 p. E468.5.T48 

A critical examination of the careers and the produc- 


25 


tions of the artist-correspondents of the illustrated 
weeklies. Its theoretical claim, that their illustrations 
were conceived in wartime hysteria and only gradually 
beaten into realistic portrayals by the grim facts of pro¬ 
longed war, is hardly borne out, but there is an abundance 
of material on the individuals, their movements, and 
their relation to their journals. Mr. Thompson remains 
alone in his conclusion that Henry Lovie of Cincinnati 
and Frank Leslie’s was the foremost of these artists. 

82 Werstein, Irving. 1861-1865: the adventure of the 

Civil War told with pictures. Paterson, N.J., Pageant 
Books, i960. 128 p. 28 cm. E468.7.W45 

The old wood engravings retain one advantage over 
all improved competitors: they are very easy to repro¬ 
duce, and will stand a considerable degree of reduction 
with small loss of detail. Here a journalist has as¬ 
sembled several hundred, with captions and a few islands 
of text. 

83 Miers, Earl Schenck. The American Civil War: 

a popular illustrated history of the years 1861-1865 as 
seen by the artist-correspondents who were there. New 
York, Golden Press [1961] 319 p. 35 cm. E468.7.M6 

Wood engravings from Harper’s Weekly, large and 
clear; ingenuity has been wasted by printing some against 
pastel backgrounds, others in colored inks, and yet others 
with bright-hued margins. P. [145H176J: “A Portfolio 
of the People and the War” in color, mostly reproduc¬ 
tions of hand-tinted lithographs; some paintings and 
posters. 

84 U.S. Library of Congress. Prints and Photographs 

Division. Civil War photographs, 1861-1865; a catalog 
of copy negatives made from originals selected from the 
Mathew B. Brady Collection in the Prints and Photo¬ 
graphs Division. Compiled by Hirst D. Milhollen and 
Donald H. Mugridge. Washington, Reference Dept., 
Library of Congress, 1961. 74 p. E468.7.U57 

Z663.39.C5 

Introductions to the Catalog and to each of its sub¬ 
divisions; captions and negative numbers for each of 1047 
views and portraits; indexes of identified photographers, 
of general subjects, and of specific subjects and persons. 
Within each of four main geographical divisions, the 
views are presented in a generally chronological 
progression. 

85 U.S. National Gallery of Art. The Civil War: A 
centennial exhibition of eyewitness drawings. [Edited 

26 


by William P. Campbell] Washington, 1961. 153 p. 

NC107.A55 

Bibliography: p. 109 

The largest exhibition of the work of the artist-corre¬ 
spondents (here called “special artists”) ever assembled. 
155 of the 281 items come from the J. P. Morgan and 
lesser collections in the Library of Congress, but 126 
additional drawings were borrowed from 15 other insti¬ 
tutions and 2 private collections. 100 of them are re¬ 
produced in smallish but adequate half-tones, but this 
catalog’s greatest contribution resides in Mr. Campbell’s 
acute assessment of the drawings’ immediacy and au¬ 
thority, in the tables of published drawings by 28 staff 
artists and of the sources of the weeklies’ war illustra¬ 
tions, and in the careful catalog with its biographical 
data laboriously assembled for each artist. 


27 
























































INDEX OF AUTHORS, BOOKS ENTERED UNDER 
TITLE, AND PERSONAL SUBJECTS 

Adams, James T., 46; Alden, Henry M., 5, 21; Allen, 
William H., 18; American Heritage, 78; American 
Soldier in the Civil War, 23. 

Barnard, George N., 4; Battles and Leaders of the 
CW, 13, 19, 61; Blay, John S., 70; Brady, Mathew B., 
7 > 3 2 > 5°j 54 > 5 8 ? 7 2 > Buchanan, Lamont, 53. 

Campbell, William P., 85; Catton, Bruce, 78; Civil 
War, 62; Civil War Through the Camera , 38; Cobb, 
Josephine, 72; Corry, Raymond H., 79. 

Davis, Jefferson, 71; Dawson, William F., 65; Des¬ 
mond, Arthur W., 44; Divided We Fought, 63; Donald, 
David H., 63; Dymock, Atkinson, 46. 

Eaton, Edward B., 32, 34; Egan, Joseph B., 44; Eisen- 
schiml, Otto, 62; Elson, Henry W., 38. 

Forbes, Edwin, 9, 10, 15, 65; Franklin D. Roosevelt 
Library, Hyde Park, N.Y., 79; Freeman, Fred, 64. 

Gabriel, Ralph H., 41; Gardner, Alexander, 2, 3, 32, 
73; Grant, Ulysses S., 18, 74; Greely, Adolphus W., 27; 
Guernsey, Alfred H., 5, 21. 

Hoole, William Stanley, 66; Horan, Gertrude, 58; 
Horan, James D., 58. 

Johnson, James R., 80; Johnson, Robert U., 13, 61; 
Johnson, Rossiter, 25, 31. 

Kaplan, Milton, 63; Ketchum, Richard M., 78; Kim- 
mel, Stanley P., 67, 71. 

La Bree, Benjamin, 12, 24, 28, 75; Lanier, Henry W., 
35; Lee, Robert E., 51; Leslie, Frank, 1, 20, 23, 39; Lin¬ 
coln, Abraham, 29, 33, 36, 40, 45, 47, 49, 55, 56, 67; 
Lorant, Stefan, 45, 55, 68; Lossing, Benson J., 6, 8. 

Meredith, Roy, 50, 51, 54, 57, 74; Meserve, Frederick 
H., 36, 40, 47; Miers, Earl S., 83; Milhollen, Hirst D., 
63, 77, 80, 84; Miller, Francis T., 34, 37, 69; Miller, Wil¬ 
liam Lawrence, 59; Moat, Louis S., 26; Morgan, Mat¬ 
thew S., 14; Mugridge, Donald H., 52, 84; Murrell, 
William, 42. 

Nast, Thomas, 30; Nevins, Allan, 48; Newman, Ralph 
G., 62. 

Pageant of America 9 41; Paine, Albert B., 30; Pic¬ 
torial War Record, 11; Pratt, Fletcher, 60. 

Roscoe, Theodore, 64. 

Sandburg, Carl, 47; Squier, Ephraim G., 1; Stern, 
Philip Van D., 76. 

Taft, Robert, 43; Taylor & Huntington, Hartford, 16; 
Thompson, William Fletcher, 81; Travelers Insurance 
Co., Hartford, 14. 


29 


U.S. Library of Congress , 52, 84; U.S. National Gal¬ 
lery of Art , 85; U.S. War Dept., 17, 27. 

Vizetelly, Frank, 66. 

Walsh, William S., 33; Weitenkampf, Frank, 48; Wer- 
stein, Irving, 82; Wiley, Bell I., 77; Williams, George F., 
22; Wilson, Rufus R., 29, 49, 56; Wood, William, 41; 
Wright, Marcus J., 28, 31. 


30 


U.S. GOVERNMENT PRINTING OFFICE: 1961 

















































































































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